Camille SAINT-SAËNS (1835-1921)
Symphony No. 3 in C minor, op.78
Organ (1886) [36:50];
Symphony in A major (c.1859) [26:30]
Le rouet d’Omphale, op.31 (1871) [8:19]
Carl Adam Landström (organ)
Malmö Symphony Orchestra/Marc Soustrot
rec. 2013, Malmö Concert Hall, Malmö, Sweden
NAXOS 8.573139 [71:40]
I’ve not come across the early A major symphony since
it appeared many years ago on a long lost LP recorded by Martinon.
I could hardly remember a single note of it when I played this CD. That probably
says it all. However, this is the work of a 15 year old so it would be churlish
to get sniffy about it. The symphony is still a remarkable effort from one
so young. Essentially a homage to Mozart it’s a tuneful and very skilful
piece of craftsmanship. In the first movement there are references along the
way to the four note motif from the last movement of the Jupiter
symphony. This same motif also occurs in the Third Symphony — 6:15 in
the third section prior to the great organ entry — so it seems that
Mozart remained an important composer in the life of Saint-Saëns even during
his mature period. There are hints of Schubert and Mendelssohn in the two
central movements followed by a lively finale in the style of Mozart. It’s
all very agreeable. The performance is excellent and has been captured in
warm, close sound.
Turning now to the much recorded Organ Symphony I’m afraid
we enter a market that already has several fine versions and despite this
Naxos offering being good, unfortunately good simply isn’t good enough
when up against some stellar opposition. There’s absolutely nothing
wrong with the standard of orchestral execution but we need more than orchestral
excellence to grab the attention. Turning to specifics the Poco adagio
is unbelievably slow and the great tune loses its shape despite the best efforts
of the splendid orchestra. The Allegro moderato has plenty of thrust
to it but where are the timps? They are swamped and backward – maybe
soft sticks are the problem. This lack of bite makes the performance as a
whole sound lethargic. The final blow for many will be the famous organ entry.
It’s a real damp squibb and doesn’t have the thrilling, all engulfing
effect you experience from Barenboim (DGG) or Dutoit (Decca) or for that matter
on the old Mercury version under Paray (my favourite). The organ should dominate
but what we have here is a rather feeble sounding instrument that merely blends
in with the rest of the orchestra. Reading the booklet notes the organ is
in fact a console using virtual pipe organ software with digital sampling
taken from an organ in Caen, France. I would have preferred a recording venue
with a decent, regular church organ at hand. Whereas the A major symphony
with its traditional classical forces sounds excellent the Organ
symphony recording lacks amplitude and sparkle. It’s smooth, plush and
warm but it just isn’t particularly exciting. The fast passages are
lacking bite.
Le rouet d’Omphale completes the programme and very good
it is too. The scampering spinning theme is delicately palyed
and the Hercules section is dark and ominous. The ending is reminiscent of
Pohjola’s Daughter with the music slowly disappearing and fading
away into a puff of smoke. Maybe this CD will sell despite the Organ
Symphony. Most readers will have the old warhorse in their collections anyway.
The playing throughout, despite the interpretive issues I have highlighted
in the Organ symphony, is always good. This disc is really only recommendable
for the “fillers”. That may good enough to tempt people at the
price.
John Whitmore
Previous review: Gwyn
Parry-Jones
Support
us financially by purchasing this from |
|
 |
 |
 |
|